by THE SAME AUTHOR COUNTERPOINT Amott admirable Bookie Bla (Ober) * A sy of mn which rer example cme rom fe oe TAN aye reader tit No wonder ha ben a sc ety a bck bad been saab in Our young days Tee eRe eyed! The Mice Teche ORCHESTRATION 1 cam ny without the sight doubt that he main pr te TL SERRE Ranta Si ara away beer than soyching RoR om ttre dan Bea ean tin latent “Pit rate—allitays ha such pati wae SEAS lf se race 1 paca ee wie valuable addon tothe Moray of works this eject The ca at aco desop what inal he at {ae ee ec hs token ames naan Trini" Gado J “Myon ae hi ein dal “rough many volume wie esaned wading The auto cto, anger oe et, chia od Se a he caps woo td facing “eepol Pet "tie Mane Tack 1 yale to the HARMONY by WALTER PISTON VICTOR GOLLANCZ LTDone 4 eve en ih W. Nara CI Musical Mstrations drawn by MARIO. CARMOSINO \ | CONTE erannuction ' Fi scauss aso nerenvats ' YA. twas 1 GG. ranmoste procression 7 Jae rosnury Axo Mooatiry 29 | Ane asec nuerme 4 fp The, HARMONIC STRUCTURE OF THE PHRASE 36 § Ape manasosnzarion oF 4 GWEN PAR & SB moovrarion: ” | 9, coms oF tue sixmi—rie ricuneD mass 8 } an. rue stx-rour cuore nT || 12. capexces Bs 13, THe ponarsar sevennit coro 8 | aq secoxpany noseneasrs 150 15, mazcuLan RESOLUTIONS 13 ( 16. THE DIMINISHED suvENTH CHORD 76 {) ipa ae eeconrere nayon sor 189 | ig. tue sequence ait 20. NONDOMINANT HARMONY—SEVENTH CHORDS 235, 21, NINTH, ELEVENTH, AND THURTEENTH CHORDS 239 22. THE RAIED SUPEATONIC AND SUBMEDIANT 385vi CONTENTS 230 THE NEAPOLITAN SETHE 6s 28 305 307 sat INTRODUCTION Gist important cp in the sy of harmony is hat of iantying the purpore of wach sly. Much conion ex fas today as why we sy uscal theory and what See hou expect co ein fm Un che preset wre’ teaching {he confasion of eulok furihe the gommones and Fete ris ober progres inal branches afi thecy. MThere are thse wo comer tat aie in harmony, counter Bos and fugue ae the cxciive prvine ofthe incended co Poser Bot if we reflect that theory mus follow practice, rarely tence by chance, west reaze hat sal theory Wipe ate of aiectios for composing asc Weis rather the col Tested and sysematzd dots gutted by obyereing the prac Hs of composes ovr ong tine, snd acempesto wet foch what hus been their ornon pace Ir cells nox how mes will be Prien in he frre, bt how mosc has ben ween inthe past. Ete results of such a defnron ofthe re are of mseal the sce lipo no Se cs i indapenable to musicians inal fds ofthe art, whether They be composers performers, conductors cies, teaches oF Hsicologie Indeed.» secure grounding in theory seven more A ecety to the misalscholr than fo the composer, singe i Horm the br for any incligent appa of individal tye of the por pres {On the ehcr han, the person gid for creative musa com Boson staking» sro in suing tha hs genni great eovgh to ger song without» dep knowledge of the common2 INTRODUCTION price of composers. Mastery of the technical of theoretical pects of mae spould be cared out by him a a ife's work, run- SPE parle eo his eenive avy but uite separate frm i. In Thora he & following common practice while in the other he is fesporible solely co the dictates of his own persona ates and urge for expresion Ti che specific Fld of harmony we must fs seek the answer to ‘wo questlonswhac are the harmonie materials commonly used by Composers and how have these materials been used? We eannot Sond in the fie stages of our sud to become incerested in the Jaividval compose tthe expense of concentration on establishing the norm of common practice. With such a norm firmly in mind, the way willbe clear tothe investigation of the individual harmonic practices of composers of ll periods, and especialy to the scientific Examination of the divergent practices noticeable in che cwenteth Tisoically, the petid in which this common practice may be ereced incides roughly the eighteenth and nineteenth cents During th time tere ourprisgly ie change inthe harmonic trates wed and inthe manner oftheir wse. The experimental pe- ‘Hod of the early twentieth ceorury will appear far Iss revolu- tionary when the lines of development from the practice of oker Composers become clearer by faiianty with the music. As yet, however one cannot define a ewenteth century common practice “Hence the aim of this book isto present as concisely as posible the harmonic common practice of composers of the eighteenth tnd ninetcenth centre, Rules are announced as observation re- ported, without attempe a thei jusifcaion on aesthetic grounds bes laws of nauce, The written exercises should be pecformed ‘S cemplieations ofthe common practice of composers and noc as ‘forts in creative composition. The author believes thar through ‘hese principles a prompe and logical grasp of the subject will be achieved. SCALES AND INTERVALS oni of harmony ithe neva. This names given the sonore reaking frm the smuitanenoe sounding of 0 fones alhough it more accra applied odes the tance” beewcen the to tones, measured by thir diferencia itch, Ihe wo tones ae not herd at the siete, bt ae con fective toner of one melodic ine, the interelicled meld Feeevd es singed from the harmon interval in whch the fro tones are sounded opt. Tees bieral ie irl Te toes which form the incerva ae dawn from she cle Thee snes are wed a the bass the music with which we are Hare concrned-the major scl, he minor sae (with i haonie and melodie forms), and the chromatic sal SSHARMONY SCALES AND INTERVALS 5 m5 =e eis customary to refer to the sale degres by Roman numerals asin the example, wel as By the following names: 1. Tonic (the key-note) II, Superconie (the nex step above the tonic) TIL, Meant (halfway from tonic to dominant) IV, Sabdominane (as fr below the toni asthe dominant is shove it) \V. Dominant (actually a dominant element inthe key) VL, Submediane (halfway down from tonic ro subdominant) VI, Leading-tone (with melodie tendency toward the tonic) “The scales are tinguished by the disribaion of half-one and whole-cone neps recognition of which is asumed on the are of Thaler ofthis book. The chromate scale, having its origin in the “Chromatic sleraon of tones, i most conveniently considered as 0 ‘ant of one ofthe other seals, as shown by the Roman numeral “The proper noaion af hisses (For instance, whether one should rate A harp or Bat) is deermined by melodic snd harmonic ‘Grcumstanes to be considered Iter. “The mlodic minor scale may Tikewise be looked upon a variant of the bamonic form. In ascending, che characteristic sixth degree {f changed so thatthe step greater than a wholerone between VI tnd Vit's eliminated, while preserving the hal-tone progresion From leadingtone to tone, In descending, the seventh degree no Temger acs leadng-tone, 30 tis lowered to reduce the step down tothe minor sch degree. Tei importane co noice that che major and minor (harmonic) scales fer ony in their I and VI. “The general name of an interval is found by counring the Hines and spees included by the evo nots. eases Be specc ane of aime (he kn of yh) may etna tos scnps nig rd er Samar cd pent eer wy na I pen conc wh evn of ea re Wali lr cng nh ee of ores fours sd Taea teh dete pee" ved a Fa es ee ihe appr ner oc xcs with aoe ofthe wl he Ping ners aco ppin. An ices haltone ver than naj inervl i BA cra alcove feat ncmogrcrd™ E Amines hllcone sale thn mioe oper in - ‘terval is “diminished.” bes ms pp rgec than a major ora perfee in og 6 min set eoptek meg aun the above example, consider the itera of a ith Ear Cc Chobe acide es ee {Ele mjor sd he neva would uve ben a major Te a soe erent Beet hove lnger Teor, sarmet bn eprops Sapte andthe irons scaled an “aogmened sah" attest vente speed ys hry fa he ere Bay be zalycd with he sharp oa an th en con at withthe egal incerval by rferene fo the above res‘ HARMONY For example, suppose the interval tobe from D sharp up to The wei at Beskary majors with nine sharps, i noe convenient a8 & verter device Taking the sae of D major, we find that Cis & aaa cof the seventh degree The interval D to Cis there: pa tome or seventh ‘The restoration ofthe sharp to che DD makes Foe Anca s halftone smaller, by Fasing the lower note; hence i {sa diminished seventh. ‘he student surged to perfec himself by exercises in dictation cor other procenes of ca-trning, inthe ability to recognize the Sranvals Gy eat when che are played or sung andro hear mentally incervals writen or printed. ira gre tan the atv may e reckoned by ee Er ch eral eal compound era Sen ce for erage the th ae carci Senne formes re aly eed by she Teer mer ee ee—| 4 ain majo nN a Sere} OO) x6 ‘A consonant interval is one which sounds stable and comples, whereas the ehaacterati ofthe dissonant interval i its reeset Uhdit need for resolution into consonant interval These qualities Te admeedly open to subjective, personal, and evolutionary intr- pretation but wis clei thc inthe common practic of composers Fhe following clasifeaton holds tre. ‘Consorsar-the perfect interals and the major and minor thirds and sats. issonant-the aogmented and diminished itervals and the Insjor sd minor seconds seventh, and ninth. (Exception the perfect fourth is dasonant when there is no SCALES AND INTERVALS ? tone below its lower tone. Ice consonant when ‘there ea thied or perfec fifth below it) “The major and minor thieds and sets are frequently set apart from the perfect intervals and termed "imperfect consonance” "This dxncton has ite significance for the harmonic yle ofthe ghtcenth and nineteenth centuries. Only the sixth when ince tain tonal rktonships withthe as, seme to ack the stability of the perfect consonances and ro need resolution to the fifth . ena Ms witose dione itera i chen ices and mpi pce ste disonanecomen which furnishes much of te ae Berets stim enagy, The hor of rmsea ye fasbeen largely occupied with the important subject of dissonance Bicarbonate meg cpa Bhat the ewential quality of dissonance is its sense of movement and Bona somctinescroncocslysouned, is degree of woplensnines ‘to the ear. * " Spates cate cny Seat cs Soom path gr ke i rac tri ed ed SAE ner relodle grove ‘Ordinary contrapuntal inversion, which s common, isa mosifca- Hon ofthe mirror type. Here the same sale is kept for both forms,® HARMONY so that while each incerval and is iverson have the sme general Tame, the specific names may be diffrent on account of the place in the scale occupied by each Harmonie inversion is quite a diferent mater In this procedore the names ofthe notes remain the same, but the lower of the two becomes the upper or vie vers, with the consequence that there is usualy 2 change in both the general and specific names ofthe inngrval mon re weroion (mis 38) Inoue eempered sale system i often happens that ewo or more increas sound ake when played on the pianoforte, eventhough they are widely differentia their mesning. A good example isthe tugmented second, which canaot be dscinguished from the minor thd without further evidence than the sound of the evo tones ‘One inetval i ealed the enharmonic equivalent ofthe other. ‘When these ier are heard in their harmonic context, how ever their difference becomes clearly aie “0 Sey Ope eat T SCALES AND INTERVALS 9 EXERCISES ‘The exercises offered in this book ate intended as specimens or ns for further exercises to be invented by the teacher of Dy the student himself. They do not precend to supply adequate Practice or taining. It goes wihout saying thatthe materi in exch Brapesr must be thoroughly assimilced and mastered before pro tenting tothe next. The exercises mast be multpied une that end Isachieved Name the fllowing intervals ae With F-sharp asthe lower tone, constrct these intervals: fin. jd, avg. eh, dim. sth; pee qh aug. and; maj. 7th; min th; avg. sh 3: With Deft asthe upper tone consrct thes intervals: dim. She msg; dim. yeh; min. and aug. ath; prt thy min. 6h; dim, i Waite enharmonic equivalents ofthe intervals in Bx. | §: From what sales are the following fragments ken? & © & Consruct& major scale in which Ccsharp is the sith degree. 1 9. Conseract + descending melodie minor scale with D as the sonic. 1B, Name the interval from supertonic up to submediant in the fe minor sal 19. Write and name the disonan intervals which may be formed eter the ronie and other tones of the sae of E major. 4. Write and name the consonant intervals which may be formed | Breen the third degree and other rons ofthe harmosie minor Teieot Bf. ecb for Spe wd fo Be meee 1) folate he si of ie cep sa geenTRIADS 11 combination of two o more intervals makes a chord I ‘Chords are ordinarily built by superposing intervals of = tied. While it would be introcive to experiment with other waysof combining interval, and ro sce how these experiments fave been applied in wentcth century musi, we must confine our Stuies hereto the chords ured in the common practice of composers. “The simplese chord isthe triad a chord of three tones obrained by the superposition of two thirds. The triad may be sa ro be the ‘bas of our whole harmonic system, apace i sil holds in pie of ‘numerous radial contemporary developments “The ames “root” "thind,” and “Bfth” are given to the chree factor ofthe rind. The ror is also called the “fundamental.” These terms are retained to wenefy the Factoes of the cid in whatever lotder they may be arranged A triad with ts roe a owt tone ssid eo Bein root postion, 'A triad with its thd as its lower tone i sid to be in the fist "A eiad wich is ith a slowest tone i sid tobe in the second TRIADS " ets “aking the two sales, msjor and harmonie minor, of the tonie C Bd ing only the vores of thee scale, superposition of thirds gives the following ens: ‘The triads formed on a given scale difer not only in piteh bot to, depending on the incervls in heir make-up in the quality of Aheiesonority. There are four kinds of triads, clasified according {the nature ofthe inrervals formed between the root andthe other A inajor triad is composed of major thd and perfect feh Aor wad compel of minor rd and pre ch Augmented tad composed of major third and augment a P jor third and augmented A diminished triad is composed of minor third and diminished Me sade should lean by practice to diingubh by ear the Hour types of triads. oe 7 a my Sea oink i Een ely consnane nerve The dimmed and named Watson he eke hand re dona ees ofthe pence of the disonane cereal diniied th and sogmened tha HARMONY ‘Roman numerals identify not only the scale degree but aso the chord constructed upon that scale degre a8 a root, whether the thord isin ro position or in an inversion, Comidesng the ete group of is he allowing observations may bem “The major triad ae: 1 IV, Vin che major modes Vin the miner ae “The minor wad are: I, Vn the major mode LIV inthe minor ode “The diminished rind ate: VI in the major mode Vit inthe minor mode “There is but one augmented rain the ior ve Or fram the poi of view of the sel degrees Tp amar wad inte msjor mod mine inthe nor mode 11 Berio rain she mor mad, diminished in the nor ede 1 minor wad inthe major mode, sgmeted inthe minor mode 5 1V Bir tjoe ridin the major mode, minor inthe minor de vy Br major ridin both modes. Vi brminor tad in the mjor node, mje inthe minor ined VIU fe diminished iad in both modes Mow muse ofthe eighteens and incceth cena f con- ceived ons hamente bss of four-part wring. Tis means er Sealy fou factors in exch chord nd horizontally for diferent teloicyices The tire pat wing often ered inthe clases equ sugges four vscen wheres lrger mbes of app TRIADS a en parsforinganc in an orchetal sor, rua theres Ei tedopicason of one or ore vce ina bel fur par tx. Efe sudy of harmony is concerned with the principles und Ging te consrition of hs common bas of four pare waking. Sees re eda eked out n four vice The ta Sse cs nox nena mean thn the pate ae tobe ng. Is gen, hesr sa he sus pred wth Bete ied voc susicy which is pocesed by al good melodic Bees whether inended for human voles or for isramens Tnceder codeine these four pars or veces we sal fallow the Beem of ing sen orth fou camo singing voce Biya, cnr, and bear somevta arbary rerio ie ges oan sprosination of te cange of buman ois "Theres no harm in exceeding these limite oceasonlly, 8 long a balance or "center of grvity” of each voice remains wel its normal ange, and extreme notes ae sparingly employed. 1 Sines the triad contains but vee tones, it is evident that another “Bheeded forfour pare harmony. With triads in oot position, the fone is customarily a duplication ofthe root an otave or 0 jor evea a the unison. This called doubling arly hear music that is purely harmonic, in which the tls ie from nations du to baizota oe Unences These coaderatons, the primpes of voce palways take precedence ove Gnseraton ofthe chard a cr chords themselves have tic engin the eoinelence Ioverient At the tne tie, the Rartonie ss de fn arrangemen of the veri sonorty which wil give4 HARMONY lagy and balance, and even on oceasion such subjective qualities fs bezury, brilliance or somberness ‘The commonest arrangement of 2 chord places the wide interval atthe bortom, with the smalls tervals 2 the top, This bears a {ecemblance, a has often been pointed out, 0 the distribution of tvertones in the harmonic series, but it must be admitted thatthe fare beeween the usage of comporers and dhe “chord of nature” rope there Compare, fo instance, triad in ist inversion withthe Series of evertanes generated by its lowest tone Incervals wider than the octave are usually avoided between soprano and alto, and between alto and tenor, but are considered ‘gi satisfactory berween tenor and bas. a t “When the three upper woes ae as close together 2s possible the spacing s described close postion. Oxherwise the chord isin open poston, provided all four normal factors are present. I will be Foried that in close poston che thee upper voices are all within the range ofa single octave, whereas in open posi there isa dis- tance of more than an octave berween Soprano and tenor. In a= ‘agg a rooe poston eid in close postion, having a given soprano ‘ute the alco will take the nex inumediaely avaiable chord note [low the soprano. I open postion i desired, the alto will no take this fie avaiable note, bot wil ake the nexe below. The tenor will TRIADS 5 fallioeo place with she only note lef, s the bas wl of couse rake the rots in whatever octave is convenient. mn {Ghose and open postion are of equally common use. The choice ‘of one othe ether is subject to various conditions, among which Thelodic progres of the pats perhaps the mos important. An ther is the question of range, Ifthe soprano woe i in 2 high fe, for example, clove poston may resale in placing the other Woices too high. The ileal of balance in single chord would be co huaveall voces in corsesponding egies all high, all medium, oral Tow, but this is seldom posible of achievement because of melodic reson and other in ental considerations ‘One should listen carefully tothe relative effect of various spac- Ings ofthe same chord and notice the kind of spacing wed in sie Fete The incervals between the voices ae an important factor in the tetore and actual sound of the music. In the common practice Fin of aronc og his hasten ay mae of sive ution of given chord tones, but, with the ewenteth century. leomposers have become rnuch more preoccupied with intervals snd heir combination into individual sonorites. EXERCISES 1. The ceacher will play a seal, msjr or minor, and afterwards Bad deived from tht scale, The tudes will ell the hind of ind and the sae depres which ts toot One cannot oversinate the vale ofthis typeof easing ‘xeric, Fciy cn be gained oly through regular practice, with Basi ofenotes person to do he paying. The mom stiacory “an feubie method sto ge togethers sll group of ieee Bees and ee cach ake scum ste pao 2s lle ce fllowing tins 0 Kad aor, minor, dine6 HARMONY ished, of augmented), and indicate by Roman numerals and Key their pomable derivacons at ro sale and degree, (For example, the fase ad given ib major, IV of B major, or T of E major, et) sa pe paisa ijt tl + “Write three different spacings in four pars of each of the a 44 Writ in four parts, in both close and open postion, the fol losing tad TV in B-Aat minor Vin Csharp major Vin E major Lin D minor Win F minor IVin A msjor Tin Efi minor R. Vin E minor i. VilinG major j. Win fat major 5. By the use of accidentals only (sharps ats, or natural), write cach of the following triads in three addtional ways 0 at illus trate the four sypes major, minor, augmented, and diminished: HARMONIC PROGRESSION ruex chords arto be heard in succession there are wo W rain questions to be considered, The fist ithe choice of the chord to follow a given harmony, and the second Bethe procedare in connecting the two chords, These are two aspects (owas known a harmone propresion S Rioogh these two questions ae in 3 sense inseparable, the ma Teo sictesion canbe regarded as independent ofthe forms ofthe Ehords themselves. AS more of these forms are studied it willbe fand more apparent thatthe individual sonorty of the wo sof far es importance than the ration ofthe two rots ‘ther and tothe sale from which they are drawn. Chords Heneied primarily by their suai in the vnaliy o, in other by the cle degre serving as root. Hence chord succession be rdced to rot succession (or roe progresion), which in fan be transated ince Roman numerals representing 4 sce ff scale degrees. The variety of chords buik upon these roots scondary importance, and no change inthe make-up ofthe ean remedy an inappropriate root progresion. B followed by IV or V, sometimes VI, les often 1 or IL followed by V, sometimes VI, les often I, Il, or 1V. followed by Vi, sometimes IV, les often I or V. fe followed by V, sometimes [oI ls often II or VL fs followed by I sometimes VI or LV, less often I oI {followed by Tl or V, sometimes Ill or LV, less often 1 i followed by I. (Vil is rarely wed in roo position.)a HARMONY cis inporcan to for an appreciation ofthe qualities ofthese prope These uae do noc restly lend themselves to de Pek by weds The dominane onic pogresion i generally, vceeuered he mst. One cen bese che fepse of ths pogresion by paying te br one (Other progresions with root moving dows a fifth (or up a fourth) seem to have an analogour effect, alchough in less marked degree ‘When the roor proceeds by step, the second chord will have an cntrely new set of notes, and so will give a change of harmonic ‘olor. 4 SSS {ss A contrast o this is the very soft effect of moving toa trad on toot a third above. my ee 22leele2 The triad on the seventh degre is rarely found in root postion and ean safely be omitted from the dacusson of rooeprogresion. Te contain disonant iteral the diminished fifth, the lower tone ‘of which is the leading-tone itl, with ts strong tendency toward HARMONIC PROGRESSION » ie ron its action and efeet this triad is really an incomplete ominane seventh chord and iso tested (ccssonally one finds the leading-tone triad progressing to IN, Telly ina sequential patern where the chord is wed in order 0 preserve the symmetry ofthe voices. = = F 4la alga (ese “The diminished exad formed on the second degree ofthe minor feale has the same diswnane interval asthe leding-tone triad, the iminshed Gieh. However, che lower of the two tones isnot in Hella tendency cone, and it has been the practice of composes Ie this chord quite frcely in rout postion may a Cann “Another wriad with a dissonant interval isthat on the third degree minor scale (harmonic). In this eae there is an augmented Berween the oot and the leaing-tone. Tei usal to double third ofthis wad, chat being the Bfth degre, dominant, of theHARMONY Each progresion poses certain chythmic values, cessed i a ater chapter. to be dis ving decided what the root soccesion tbe, the next qu io se the wo chords ae connected, that i, how he voices tnove horizontally. “The following sbservations describe the procedure followed t0 connect two rads in toot poston. Notice that what is sought pat= ticularly is smoothness. TP the two triads have one oF more notes in commen, are epeted inthe ume vice, the retaining voice of voices moving to che nearest avaiable positon these x39 Ta the example, Gis @ common tone of both eid, 50 iti r= peated in the sume voice, the alto. The other two voices move to Fhe neatet poston avaible dow to B, Eo D. (The nots of the second chord a G, B,D, G. The ewo G's have been sed, one by the ba since thats the woot and the other by the repeated ako. ‘Therefore Band D are the only avaable tones) If C had gone to DE would have been foreed to take B, the only note left and his ‘would not have been to the nearest position. ‘Exception, Inthe progresion II-V, ie i customary no t0 re pest the common tone but to move the three upper voices down to the next availble postion. HARMONIC PROGRESSION — xt “a If the evo triads have no tones in common, th ie on, the upper three proceed in the oppaste direction tothe bass always tothe available position on: Inthe progresion V-VI, the lading tone mors Regie the onc whe the other wo voices descend to che Bt pion inthe chord doubling the third nexd of the nthe toad on VE ba Bef oe fi tg 5 oo Aicetons given sbore ae followed, the conection be the chords wil be correct according to the pacice of vice in harmonic progression. The purpose ofthis procedure ihe sna le cnn ofS cde at 0 low inc the next. Continued application of the proe however, resin rather dll msc x Fey vt oes not expect fine four part contrapuntal wring in the of root postion triads: Moreover the emphass in har sady will of necesty, be directed to the chords But thea HARMONY cculvation and exercise of musical tate and judgment are impli $iihe effort to emulate the practice of composers. Iti never t00 Say come onthe constant seeking for what stray mia. Even sede ceercser dealing with sich elementary material as oot pos ton tds, there will aways exis the possiblity ofan arrangement thot alle more interesting and masial chan another. Tn other words the set of rule is broken whenever greater m sical interes can be achieved by Breaking them, and this will be otcerbe fs of all in the soprano line. The soprano, being the top Tin, i instinctively heard as a melody and so must receive more car in its constrotion than the inside voices ‘Wien he root repeated its aviabe co change the postion of the other voices, for variery. radi? a| === oan be [A change from open to clase postion, oF vie vers soften a good way to obain anew soprano note. ms ( “The ocessonal use ofa triad withou ith, vsualy composed of three roots and one third, may help to free the soprano line. Ii rot in the style to omit che third, achat leaves the empty sound of the open 6th 36 HARMONIC PROGRESSION 4 Doubling ofthe chird or Sh instead ofthe root it another means ‘ofmaking tore notes asiable forthe soprano par. my (Se 325 i Pal eto “Rhryshinic division of some notes of the soprano ito smaller ime fale frequen resource the making of + cody, a ke Bete tying over of pomible repeated nes to make notes of Tepe ine values. The aden advised to one thi device space fag fe. in order co gun experience inthe verte ange ten of the chords before adding thythnsc complications me by various means the voioes ae given more freedom of move tention must be given tothe ways in which they may move, as regards thie individual melodie lines and ther relative ogeson The us jen” nd “sjone” motion to describe the movernen ofa single line by ep and by espectvely =ae HARMONY “Two voices may move eaivly in three ways: in contrary mo- tion, in oblique motion of in smile mocion, “Contry mevion the voices movig in opposite directions: ae (SSS Oblique motion, one voce Jevel while the other moves: Similar motion, both voices moving in the same direction: In similar motion, ifthe wo voices keep the same dsance apart the ate sai tobe in parle motion. Te voices moving in parallel ‘notion are melodcaly less independec than otherwise, and may be Tooked upon a2 single voice with redopication. Parallel intervals of the unison, cctave, and perfex Bh have been systematically ‘voided by the composers of the eighteench and ineternth cen- turies whenever it has been their intention to writ a basic Four- pare erre m8 Pet in and sis a som, ort ewe igual yp hs So =e Pe nana cin cen rc ing fount coop anton deg eae meerr HARMONIC PROGRESSION 5 isicive mation of the vices is planned to prexrve the ‘separate pars. The matimim of independence is by contrary motion, but its obviously noe posible for fo move in four dilfeent directions. Obiqze metion is foconcrse a moving voice wth one thats sanding sil In orion care mus be ten thatthe movement not so con similar that one paris merely 2 companion to the other Bindiosity often | Composers seem to have been careful about any approach by fpotion to the intervals of octave and perfec fifth. While matters are more in the domain of the stady of counterpoint, prominence ofthese incervals when berween the outside voices land soprano, necesitates recognition of the practice feave ora perfec th s not usslly approached by sini fo, with skips in both voices. Ths combination is often == foas hidden ocaves, or hidden fifths, but the erms “diect fave” and “rec ith” will be employed here. [ epee Hh ce ft die ote. uly aed in upward even when one part moves by sep, except when the oice moves by a minor second, acting a leading tone facervl of che augmented fourth is called the trite, i, ftones. Ichas + peculiar kindof sound and ic was looked ddsfavor inthe contrapuntal era when it was refereed arin musica. The toughness of its eet was softened6 HARMONY davoided with consistent sil. Inthe period of common harmonic aoc there seems to be but one form of the tritone that was Peel) always shunned by compar. This i in the prgreson EIN in rove pasion. The leading tone in V and the bass of 1V Fey Minton’of trkone, and here the tem “eros-rlation,” oF TE plato” wsed vo express the relationship between evo suc- TEC rones which do not cccur meloiclly in the same voice ‘The fate relation of the teitone is easly heard in V-IV when the Tending-roe is inthe soprano voice proceeding ro the tony buts easly used whe the leading tone i in either alto or tena, ma When two voices move upwards in similar motion, the lower voices not satally allowed co move f0 a position higher than that Jia lefeby she upper voice. This avoids ambiguity to the ea, which igh follow at apparent melodie progression berween the two vebece The corresponding role holds for descending movement. a 48 so In wring exerci in four pas wing two saves the tenor nT EEE Son te lower ei with he bss ha the four sa een ee ines Iisa a aio catty 0 adopt sea pain the ene ofthe soprano and eno par up Iaine of ako and bs down cleat vein shld be made ofthe execs which ell (a SeSSEaA norber af chords The fevers sould fl WES nop otined under the heading of wie dig. eaters ay por melaealy 2 m Ex 35. Te wl FOB N themedene withthe principles of connection of HARMONIC PROGRESSION ” and will then serve 28a bss forthe depatares necesary to fa beter soprano line. * ° departure need not be numerous or radical ik Mee uuyn ta alt ee $= Starting wich the third in the snprano ruses the voices to 2 ccecs pesmi V-VI This giver choice of repeing the commen tone F Oe ese ee ira third version of the same series of triads. The from the base procedure should be analyzed by the EXERCISES Wri, in four pars, thre diferent arrangements of each of harmonic progressionsa HARMONY V-V1in minor 1V-V in D major EVLin F major VV in C major Vein A ninor TV in F-fat minor VEIV in Bear major BC ILV in F-sharp major Te M-VIin C-sharp minor ji VeVi Deae major v 1: Writelave versions of each of he following series of eid in Vom poston, The fist venon should comply sic wih che ae rare for connecting triads, whe the second should contain ‘pare from the fis ode obtain 2 good melodic soprano par. a. Cmjor IV, bs. Cminor VLIW, IV, V 2 majors LHL VIAAV, Vs Ve IV, 1V, Vad 4 Brior: V, 1V, HyUll, VV, V, VIA, je'Add mprane alc, and tenor part c the following bases sig wrnds root postion. Make cwo versions of each Bas a in the preceding exer SS SS SLLV,VEIVI iv aal Vai, oe eS mS a TONALITY AND MODALITY Siegen sd aincosench cearusies is conceriod, Ex. ‘central tone with all other tones supporting it or tending ary et, Sie oe relationships eet oor ‘Earlier ems, based on the moc it ee ot earner cfr the choice ofthe tone beceen whichis bait Tey syne iy lly wih tthe major, ino, and chromatic Tange number of modes be any give fAbillsraion afew ae yven bere onthe key aeHARMONY “These modes may be transposed into all tonaiies simply by changing the pith of the tome note and preserving he interval relaonships. Many modes taken from folk songs and even oriental sles have ben ose occasionally by compesers. Aifca scales have been n- Vented, conaiing a disuibuton of intervals not known befor call of these mio swat invesigation until the frst task in the Ray of harmony is accomplished, namely the cleat 2nd frm estab {Ghent of the norm of common practice by reference to which these exaordinary resourees ae to be appreciated. We limit ur ‘Rivea therefore the three modes or sles deseribed in Chapes ‘One major, minor, and chromatic, the la considered asa vant ofthe other «wo. “The acknowledged superior authority of these cwo modes over ‘pent of some chee hundred years has given rie tothe expres: see tajorminor system often applied to oar mic. We ar so ‘abued with this tradition that we tend to inerpret music based on ‘ther modes a being in either major or minor, usually with ome- thc unsatisfactory results, How often ic is that the ear access the impresion of C major at the opening of the second move: nent of Brahns's Fourth Symphony, only co find soon afterward that Eis the tonal center x 53. Brahms—Fourth Sympbony oda nse ipa coll tote TONALITY AND MODALITY — 31 eee mea ry srs oe te ah ee ae epg ote Sin nl pata Dak Boe ie omen rai Sh hn snes owing i eno Bote cares cess oaing oe seed efits oe seme eh he se me Fach nici Se a a te _S—S—tétit Bieler alegre se vkenced nt wage of aaron a tod son sens pre topo of pro tence to esa weg nee above could represent the scheme of hamanie for pce of lie icc tng ie Se, By runs and then nodeton of the a Bk the a ene sing ad al Ocer Brewed to amply and decor thi dein orca id ern ed te ol an, emai hese foc bth moa mM te: HaRMosy ae sedan ctw ees Te ae «gle ato ype No, key “The supertone fe mos often treated as dominant of the dominant. mn SSS od Harmoniclly, however, the supertonic often tends 10 become sorbed into the subdominant chord, especially in certain pos- tions ands sometimes spoken of as substitute forthe subdominant The supertonie should, eherefore, be included inthe lit of ronal egices: since it partakes of both dominant and subdominant char seteristiesbut should be diingushed from I, IV, and V, a having rach less nal strength, “The seventh degre, leading: tone, forall cs importance as an indicator ofthe tonie through its melodic endency, has noc been treated 3s bsie structural factor in onal. 1e remains a signif icant melodie tone common to both modes. Tes Seldom regarded tsa generator of harmony, bu isusally absorbed inc the dominant chord. The progression, leading-tone to tonic, may be described as tmelodialy VII and harmonically V-L Tn terms of harmonic roots, oveemphasis on the model degrees TONALITY AND MODALITY — 35, Aedes of «nos ado, an ht i tended, The modal degrees, by thei insistence, ae accepted by the fears tonal degrees of another scale It follows thatthe tonal srucrure of music consists mainly of Frarmonies with ronal degrees as roots (1, IV, V, and II), withthe ‘modal degree chords (Ill and VI) used for varity. Ii iteresing fo ipore how ina single tonic chord one third degree i sfcient fo eslor” any nursber of doublings ofthe two tonal degrees and to explain the mode. = gan Beane == = aS fe The addition of dissonances and chromatic alterations creates. i the combination of leaing-tone and dominant roe iphment ofa key by means of one ofthe many forms of domi Past harmony is an cveryday occurrence” HARMONY x 61, Haydo- Quart, op. 77,901 ny Pooste <7) er (ha ex. 62. FranckViolin Sonata — en pen ae pa a aS itt pl Asinglechoed heard by isl is capable ofa number of incexpre- cats at tonality prove advantageous tothe proc Phen we chore ae herd in themes impl- “This ambiguity, which wl ee ces of modoton i grey lesened wh SRammonie progres. The progresions have Lua may, ag in varying degees, wx 64 TONALITY AND MODALITY 35 Tie gretes:szengh of tonslty in harmonic pogeesons in olingoly ids es in those progreione which combine do Hramony with harmony fro the subdominant ide (inelding Mupencn = partaking of bot). Presence of the tonic chord ip pot necenary tthe exablatment ofa key. More important Gdominane. The progressone IV-V and ULV cannot be iner= in more thin one tonay, withowt chromate akerstion, they donot need the tone chord to show the key. The on V_VI, although pombe to eat asthe reltively un progrsionI-ILin the doinane key, nronlyiniative sil only TM iemay be neceary for tied chord tobe heard if the harmonic nlon ito define the only By ang another chord tothe in the sbove example, they canbe fendered almost une biyin C feng it Sg ee Sat lly a thid chord could be selected which would confirm aleratveronalty given inthe orginal example. aaa 3 ste | elementary tonal units, groups of ewo or three chords with meaning to key, might be regarded as musical "words stadene is advised ro write as many ofthese Forme 2s possible mebook where they willbe available for conslation, begin= ait the commonest, like IV-V-I, I-V-V, ete, and even ome that he may invent. They should then be studied individual qualities, chee strength of tonality and rhythmic6 HARMONY fecing, and notice shoud be aken of hee frequence of wse in music nd of the varied form in which they may sppeat. “Variation of the formulae by diferences in doubling, spacing, and choice of soprano tone, are resources already available to the sradent. TONALITY AND MODALITY 57 fet 70: ChopinErude, of 10,00. 5 dante <_—— Zo rees me t == meena wo hee Change of mode from mijor 0 miaor, or vice versa, does not affecr the eonalty ofthe formula, andi one of the important means “of variation, Ex, 66 could be written as follows, the only change being in the modes, ates ap oe TP abe a 2 | ohare = = 8 oor =f GINVEWVIENLVATNVEV a “The study of harmony deals withthe variants of these funda- mental formulae, of words” Ie wil be found tha they exis i che Toot complex texture, and from the very beginning mich anton ould be given to harmonic analysis of standard works, to bring Sue the ens capacity for varied eeatment of these harmonic ‘Structural lemenes Compare thes two presentations of the formula MV 169. Morare-Pieno Sonata “The modal implications ofthe chord progresions have much less than those affecting the tonality. Major and minor Imodes are not as dence in usage as thee two scales would seem to fndcate, nd ics smerimes uncertsin which impression is intended by the composer. lvetuation berween major and minor has always been common, BE pr, BecthoverSonats op. 53 Alegre roerso fs GEGE GEGE GEE G a Tish caplet proesion is pene wih hang of chong veel roe note ted spe Sernc option ny el em hes ron bth# HARMONY tx 72. Mendesohn-Somg without Words, op 102,902 t mode in the mids of or and is frequently ‘iach de pitt “This we of the sith degzee of the minor chords ofthe major mode add he inter beard, Boh the subdominane and sopertonie with minor re are rely weed when the major ithe prevallng mode ‘Oarthe other hand, the major forms ofthese chords (with major fellas es eres == Pasing tones are employed in all voices, and when wed mals tancouly in diferent voices may retina degree of complexity TToo many such tone tend to obscure the underlying framework and weaken the effect of the mse. The stadene i advised eo seudy the works of Sebastian Bach as models of balance in the use ofall nonkarmenic tones. Ia applying these resources in exercises itis recommended that they be sparingly used at fist, allowing the phasis to fall on laity of harmonic structure, x. 186, Bach-Well-temmpered Claicbord I, Fugue mo. 17 ing tone : NONHARMONIC TONES 105 Inthe minor mode, the sth and seventh degrees, when they are sed a8 posing tones, will be derived from the melodie sale, a tending and descending. “The auiliary tone (abo called embellishment, neighboring note, Iroderi) isa tone of weak thythmic valve which serves t0 ora tment. stationary tone. approached by either a half or 2 whole Step from the tone i ognamentsand it rexirs to that tne °" Gs x 189. Bich~Brandenburg Concerto no. 3 ‘alegre xcs oh (Ee 7 aT Achange of harmony may rake place a5 the auniary reurns co the main one. x. go, Chopin—Preude, op. 28,90. 4 are (Ges106 HARMONY ‘The ausilary tone it not always a sale degre ofthe key, bu is frequently altered cheomaticlly to bring ia half-tone clos to she ‘main tone. When iis below, ie haste character of a temporary leading-tone ofthe sce degree ic attends, Px. 191. Mozare-Sonate, K. no. 331 “The upper and lower auiais combine to form a melodie rum offre notes sround a central tne 12x 192, Schumann—Carnioal, of. 9 Adagio wie. eae ae ge . ia ig DRE a = ‘The melodic figure shown above soften found with the third note omitted. Various names have been given to this grouping, bot we shall refer coir asthe double axiary, implying that ie Single tone omamented by two auiary tones, 1,193: Berlon-—Fantastc Symphony vee eS ‘Two or thee anilaries occurring tthe same time in similar mo- tion make a chord which might be termed an auxiliary chord | NONHARMONIC TONES 17 sx tog, Listes Préudes Andante, aus ————F se aprocctarunn ~ All nonharmoni tones ae thythiely oes with che single exception ofthe appoggiaura (pL. sppoggiarre. The Jeseauon teeter (rom te ean verb sppoggure lea) givesthe bs Shae toitcharce: I gives he prem of lain Meson he fone into which aly resolves by half or whole mep. The yeh tt the sponges followed by pte reson nearly fecogsewek To trtaging on appggtra with four-part chord ii cu tomary csv! docbing the noe ofrealution, pecially when the Sppogdstar eno in the upper voice. The note of roluaon s dublin the bar in chord in rot poston, the appoggtrabe- {ng far enough above tobe clerlyfolowed melodia megs Ex. 196. Beethoven-Sonats, 08.7 Alegre, ee108 HARMONY “The appggiaura may be below the nore rowed which iis end ing. Cornmonese ofthis type it the leading-tone appoggatura tothe x. 197. Haydn-Sonste {ee low Like the susiliry, the appoggatura is often found a8 a chro- rmatcally avered sele degree. The alteration give it an added tendency toward its destination smile to the tendency ofa eading- 8.198, Brahms-Pisnoforte Concerto, op. #3 Alleges — v ‘A mos pungent form of appoggiatura stat ofthe lowered sev nth degree, descending mir, standing for the sixth degree snd Sounding agains the eatng-tone in dminane harmony. This erates thesomevhat unawal interval ofthe diminished octave x 199. Bizet-L'Ariésionne Andantino me tpi te < NONHARMONIC TONES 109 See spear suning roger make a spoggin ex, 200, Chopia-Prelude 0.28, 0.6 Af “The suspension is 4 tone where natural progression has been sical dyed IRisinceening to not that the melodie rhythm of the voice con- taining the suspension is srong-o-weal, long-toshort, while the harmonic rhythm i fle here as weak-tostrong. Ifthe C were not tied over, he effect would be of an eppoggiatera and che melodic ‘thythin would then agree withthe harmonic, “The ted note is characernic of the suspension, a this is the rmeansby which the notes delayed while che root changes.no HARMONY 1.203. Schumana-Romance, op. 28 Ifthe fis of ewo notes tei shorter than the second, the effect Israther ofan appoggistars wieipated, or arivng to cal. ‘2x 20g, Scarlti-Somies ‘The resoltion of the suspension is uualy tothe eae step below, ‘ut the upward resoltion i oe infrequent, If she suspended note ‘a leading-tone, or chromatically ased tone, i will hve 9 natural resolution to the note above x, 205. Beethoven—Sting Tro, op. 3 Allegro su on ep, When several tones ae suspended at once they wil onsite a suspended chord, so that there may be ewa harmonies heard atthe same time familar effet in cadences of slow movements NONHARMONIC TONES oa 206. Brahms—Lntermes20, op. 116,90. 6 rm" Andanss, ———_— In normal rhythmic movement the amount of time a tone issu pended i a est the valve of ane whole best or pale. The sepen Sion doesnot usualy resolve on a fraction of a best expecially the Second half of the first bet. There are however, numberof orn ‘mental resoltions of the suspension which may. provide melodic activity before the actual note of resolution arrives. These oma rental rescltions may occur in the form of alany, chappée, ambiaa (pl carniate), or anticipation (se blow), oe there may bers note ofthe harmony interpolated berween the suspension and ‘Ex 208, Handel Suite no. 3 Allegro,ta HARMONY “The melodie forms described above ia the ornamental resolution ofthe suspension are applied to any basi melodie progression of 2 tecond, up or down. The commonest use ofthe échappee, a well as ‘ofthe cambiat, an interpolated tone between a dissonant tone, fr tendeney tone, adits resnlation. The éehappée is like a noce ‘leaping fom the direction ofthe melodie movement and having to retutn By skip that is by an interval larger than 2 second. On the ‘other hand, the cambiata is the rsule of having gone too fa, so that cis necesary to en back by step tothe note of destination. NONHARMONIC TONES 1 ex.a4t, Mozare-Sonats, Kno. 533 x15. Chopin-Masurh, op. 59,0. 2 oe = SSS ae $$ appt sex 210, Haydn Quartet, of. 76,00. 3 Mie ge aa Oe =F z Asies name implies, the antpation ia kind of advance sounding of atone Irs chythmiclly ike an up-beat to the rone anticipate, to which ies usualy not tied, and iv ordinarily much shorter in time vale than the principal one. ex. nrg, Franck Sing Quaret eto ex 215. Handel-Concera Grosso Large, { ( eee (Gas ahs a eeoy HARMONY “The practical application ofthe principles of nonharmonic tones will involve evo different processes, one analytical and one con- feructve. The fst willbe ealed into play in the practice of ba ‘monizing 2 given pare. Iwill be necesary to devote much chug in the melodic analysis to deciding which are exental notes and ‘hich ae nonharmonicrones. The experience of harmonic analyst ‘of composiions will prove helpful inthis respec. Tes recommended thatthe constructive proces be based onthe Inypothesis of the harmonic background at the origin of melodic parts. The eps would be a follows: 1. Adopt a tonality and sequence of roots sa foundation for ‘usial sentence. Let us take for example: B-flat major, FIV-Il- VeRV, UIV-LIlH-V- 2. Gonstrut a bas by applying othe above series che principles ‘of harmonic shythm, using tds in roe position and frst inversion, rane Roiwewa wit yo mwn # ommey 1 3. Add three upper voices ina fay simple version of this har. smonie scheme, een 4+, Apply the various resource of nonharmonic tones to ornament the four voies, without descoying their fundamental melodie pro reson. Thistp is practically without linia to pose variant, Elkhough cis useles to strive for complexity NONHARMONIC TONES us EXERCISES 1 Construe Four versions of a phrase onthe following seis of hharmonie roots: G majo, I-V-Il-VI-IV-I-V-L Each version wll concentrate on one type of nonharmonic tone, introducing 5 many examples of that eype a Seems practical, 1: Pasing tones 1. Auxiliary tones g, Arora 2. Harmonize the following soprano pars, fst making a careful aelodic analysis co determine the noaharmonic tones present.46 HARMONY SSS 3. Harmonize the'fllowing basse. Note that necessary in r00e postion Ss Lange THE SIX-FOUR CHORD vs a rad isso arranged that ts original Sth ie the lowest, W one (second inversion), the resulting combination is Known as che sit-four chord, the intervals berween bass and uppeewoies being sith and fourth Fs tae t Since the fourth i a dissonane interval, and the sith buts jam perfect consonance, the sit-four chord isan unstable chor, eis the product of vertical coincidence of moving voices. When cor- seedy used ican be analyzed a «grouping of nonharmonic tones By far the commones ofthe chords in this category ithe fa nila "tonic Su-four” found in eadenees. This is aewally + dom inant chord in which che ith and fourth frm appoggiarre tothe Sth and thiedeespectvely In four-part wring the bss is doubled, since iis che inactive ‘tone, and also since ies the real ror of a chord in rot poston.ne HARMONY Ie will be profitable to compare the above formula withthe fol- lowing closely relted eect. ‘The eadental scour chord, witht eoaion into the dom nant chords his the thychnc tale of srongt- weak: Fleer ie trarksa song bes andthe brine binowen placed jut bore steams be remembered, however, thet the placing ef the bar lines representing the meer. ery sent vatance wth the a. moni and mcodc ehythise The scour chords i the thoes ‘amples below occur on what ae fk to be stong bens not cesar fis beats ofthe meses. The harmony preceding oe ‘ale ioc in exch ens one which old ce the daminane sa weieostrong propesion eg, 1V-\ ‘even -V, a : Noor [ep x. 223, BeethovenSonets op. 2, 0.2 THE SIX-FOUR CHORD ay sx. n4. Mozare-Sonate, Kno. 331 Chords on IIL and V are lest appropriate to introduce the c= ential scour chord, as the resulting thython is either strong-o- ‘weak or sate. ‘The sith nd fourth may occur inthe form of suspensions instead of a appoggioture. In this case the harmonic rhythm is weaketo- strong, while che melodic rhythm of ehe wo voices involved be- comes strong to-weske mx 26 Ta keeping withthe contrapuntal character ofthe sith and fourth, cate should be taken to observe their natural resoltion tothe step Delow. The folowing resolutions are exceptional and lck tensive feeling for the horizontal melodie movement. enie HARMONY Exception may be made tothe above remarks inthe ese of the interval ofthe sith, which isnot a dsonance like the fourth, When the dominant chord contains seventh the sixth may semetimes se tothe fourth degree = di == exif Although found chiefly in cadences, the sicfour chord formed from the noces of the toni triad may Be used as stong ehythmc effect elsewhere in the phrase. The cxdentil impression will not be likely ifsuch chord oceurs early inthe phrase anditmay be avoided by melodic continuity in the voices, eng ——e Analogous chords are used on other degres ofthe scale, the com bination IV being fly common, sx 230, Weber-Sonate,op. 49 Andane conn0!0 THE SIX-FOUR CHORD a If the root of a rad remains aionary while es thid and ith rise one degree and return a si-four chord is formed. This type difers from the appoggiatra type in tha its weak rhythmically tnd the seth and fourth mos ence from below inthe manner of turilary tones. A simple analyst of one rot forall chee chords is always posible, the sith nd fourth being nonharmonic tones Te ish bas, rather than the upper voices, that gives is name to the pasing sx-four chord, Here the bas is 4 pasing tone beeen two tones third apart, usualy ofthe same harmony. The rhythic ‘vale ofthe passing st four chord itherefore weak, Its upper voices enter and leveby stp, so tha they may be explained contrspuntally in relation co the surtounding harmony, the snth a8 star, the fourth as harmony noce nd the octave ofthe bas as passing tone br 233, Mozare-Sonats, Kno. 330 eats oes sitet potenna HARMONY “The bass may touch upon the fifth in the couse of its melodie movement among the tones of the chord, without producing the dlssonant effect ofa sifour chord. Te must be decided on rhythmic {grounds whether or noc the fifth isthe real harmonic bas. Certsinly {the example below the 6th in che bass unimportant cont pontally and iemerely atone ina broken chord x 254: Morare-String Quartet, Kno. 465 fm Miss Aegeo Al cl yt 1 Sixfour chords of contrapuntal origin are frequent and can be understood as groupings of any ofthe noaharmonic tones. They are ‘ually nor of sufciene rhythmic imporance tobe looked upon 3 chord, but rather should be regarded as combinations of medic factor. ‘Composers have occasionally been ateacted by the feding of suspense inthe s-four chord and have uted it for that effect. Sehu fmann preferred to end the Romance in F-sharp thar way rather than withthe Salty of a rooe postion toni chord THE SIX-FOUR CHORD ny 1ex.236, Schomann-Romance, op. 28, no. 2 Common formulae including six four chord, robe played in all vo orqe mw viv we EXERCISES 1. Coma shrt prs lusting the vais ype of six four chords. 7" Work ot the flowing Sed bauesin four par14 HARMONY eon erent 1 Harmonize the following soprano pars, introducing si-four chords where appropriate: ‘4 Hlarmonize the following bases: CADENCES phrase endings. They mark the brething places in the ‘musi, establish che tonality, and render eoerent che formal Tt remarkable thatthe convention of the cadena formulae ‘oul hold ies valty and meaning throughout the entire period of ‘common harmonic pratce. The changes that tok place in external ‘anne, in harmonic color, dd not dur the fundamental 2 ence types, but seemed only 0 serve to conem thee acceptance Te axe no more important formula than those wed for The harmonic formal V1, the authentic cadence, can Be ex tended co ince the or IV whichesromary reeds We now fave the eden four chor, hone ar! fonction to ae ounce the cence, The srenge for of fal cafene would thenbellef-V"I The ton sfourshord of eure che doable sppeguart on the Jomiane or 8,337. Bach-Well-tempered Clavichor, It, Fugue no. 96 HARMONY ‘The example above shows the strength and finality ofthis cx dence in simple form. There are many ways of varying the arrange neat of the formula. The sifour chord may not be present, and the fourth alone may appear as a suspension. x. 358. Handel-Suite no. 6 ‘eagio a “The final tone chord may receive some omamentaion, such a 4 suspension or an appoggiatars x. 239. Tehaikowshy-Remance, op. 5 ee Sp dm 2. ee Se cr veoh if ” 1 ‘The dominane chord may continue to sound ove the final tonic in the bas, ater resolving, of ie may act 38 an appoggiatra chord tothe vonic. sxe. Franck Sonata for Violin end Pisno CADENCES ay “The ws of the authentic cadence i noc restricted to final phrases, Ieisoften employed elsewhere, but with les emphasis on its Snaiy “The mos: conclusive areangement, with dominant and tone chords Jn root postion and the tonie noe inthe soprano atthe ends gen- nly called the perfect cadence, ll other forms ofthe authentic tadence being rermed imperfect, meaning les fal ‘Ahard and fas dssincion between what ae perfec and what are imperfeerexdencesis not posible, norsitimporant. The degree of finality is dependent upon many contributing factors and exch ease should be judged on is own merits “The approach to the tonic by mean of che first inversion of the dominant chord is generally considered less conclusive cadenial fect. bx. 241. Mendelsohn-Prolde, op 25,0. 6 If the tonic chord isl is invered the phrase will probably be extended so tha the real cadence comes later. Pacing the third in the soprano wally gives less feeling of finality than having the tonic in both ouside voices. The following example by Beethoven Shows an imperfect authentic cadence, wth third in soprano and fensnine ending, balanced by a perfect cadence with masculine end- Jing and vnic in soprano and bas.ne HARMONY 1x 242: Beethoven-Symphony no. 8 When the chord before the dominant i tonic chord the foot postion i regularly avoided in order not eo wesken the Final tonic by anccipason. my “The eadentlsx-four chord is also employe Ifthe tone chord is wed o introduce the Is, may bein root posi CADENCES 19 mes 4i4aleieale wgdv wy om gv ‘The tonie may be suspended into the dominant chord, without six-four, or may appear as appoggiaara tothe leading tone sex 245. BraheIntermeazo, op. 107, mo. 2 In many eases the chord before the dominant will contin a chromatically raised fourth degree, making a leadingtone to the dlominane. This has more melodic than harmonic significance, as ilostated by the eambiats G sharp inthe example below 4.246, BeethovenSonat, op. 2, 0.2 vt ' ‘This temporary lending-one may, however, be of sufcien ha. ‘monic srength to give the chord the character of dominant of the dlonsinant (VofV). As such eis also wed as an appoggiatura chord ‘ver the dominant ret